In the last year, I have been wrestling with internal and practical dilemmas. During challenging times, healthy business practice suggests implementing change, either in practice or career. It’s also wise to refrain from investing in supplies and creating with plenty of inventory available.
If I returned to painting, I’ve thought about how it would unfold. Conclusions focus on feel more than visual concept. It’s always been my mission to improve with each canvas, but a return would require change in work, methods, perhaps genres and mediums.
The work needs to be current, unique, and relevant in a competitive market, fragile from world circumstance.
Resurgence needs to be brave.
Desire is to produce a series of work that taps into emotional strength, and simplicity in design.
Playful, loose texture that challenges rigidness of concept.
I began by creating small compositions experimenting with paint on paper, paper canvas, and canvas, testing acrylics, water mixable oils, and heavy body acrylics, or combining all three. It’s sparked ideas making the transition back exciting and bold.
Every medium is unique, colour palettes differ from each other, how they mix, and respond to surfaces. Process is all about exploring medium behaviours and how to make them do what I want them to. It’s also a physical and creative challenge. In order to limit tightness of shoulders and brushstroke, posture needs to be relaxed.
In order to achieve this, I set into motion several goals. Physical activity before painting specifically to free up posture, creativity, and build confidence. Paint without reading glasses to prevent fussiness in detail. Work on two easels at once in two different mediums. It’s super challenging, and speeds up evolution to high quality work. It’s a kind of creative conditioning similar to athletics.
With two active easels, I move from one medium to another, with time limits on each. With strict rules to not fix mistakes, I carry on to the next paper or canvas.
A recent project requirement is practice in plien air, so smaller work needs to have that quick study feel. The tiny 10 min paintings are rough, freeing and humbling.
The work in acrylic and raw sketches transfer to the work in oil, giving it a fresh uninhibited quality. The energy produced is happily bouncing around the walls of my new workstation. Hope you can feel it too.
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